3 John Drewe Kunstvervalsingen in Engeland 3 From Wikipedia, the free encyclopedia John Drewe k - jpg - 3.bp.blogspot.com/.../john-mya -portrait.jpg De a eelding kan auteursrechtelijk zijn beschermd. Hieronder vindt u de a eelding op: philbrookmuseum.blogspot.com/2010_05_01_archi... John Drewe (b 1948) is a Bri sh purveyor of art forgeries who commissioned ar st John Mya to paint them. Drewe earned about 1.8 million execu ng these art crimes. Early life Drewe was born John Cocke in 1948 in Sussex, England. His childhood friend later said that he told tall tales about himself even in school. At the age of 17 he dropped out of school and changed his surname to Drewe. He worked briefly with the Bri sh Atomic Energy Authority, having ini ally convinced his superiors that he had a Ph.D. in physics. He resigned two years later, a er this was found to be false. A er that, there is a 15-year gap in official records about him - no employment or tax records. According to himself, Drewe joined the student protests in Paris in 1968, moved to Germany and studied physics in the Kiel University. When he moved back to the UK, he taught experimental physics at the University of Sussex for a year and received a second degree in physics in SUNY Buffalo. None of those educa onal ins tu- ons have his name on their records. In 1970 Drewe, claiming a PhD in physics, worked for a year as head of the Physics Department of Bexhill Grammar School in East Sussex. In 1980, Drewe met Israeli expatriate Bat-Sheva Goudsmid and charmed her with claims that he was an advisor to the Atomic Energy Authority, a Bri sh Aerospace board member, and worked for the Ministry of Defence. In fact, he was teaching physics in a Jewish private school in Highgate un l he was apparently pressured to leave in Career as a forger Also in 1985, Drewe met John Mya, who was in dire need of money. First Drewe presented himself as a nuclear physicist who wanted art copies for his own home and hinted at links to Bri sh intelligence. Eventually he persuaded Mya to paint forgeries for him. He used mud and vacuum cleaner dust to age them. Drewe contacted auc on houses like Chris e s and Sotheby s through intermediaries and sold about 200 of Mya s pain ngs for 1.8 million. [1] In the course of their many year rela onship he gave Mya a total of only 100,000 while he lived lavishly off the proceeds. Drewe did not try to sell pain ngs in a vacuum but created false backgrounds for them. He forged cer ficates of authen city and even invoices of previous sales to establish false provenance and paper trails for the paintings. He wrote to rela ves of the ar st to fool them into authen ca ng the forgeries. He tricked a small Catholic religious order in a village to sign a contract which would verify some of the pain ngs.

4 John Drewe Kunstvervalsingen in Engeland 4 He also forged documents about previous owners so that the pain ng did not just suddenly seem to appear from nowhere. For this he used records of dead people, some of them his old acquaintances. He also convinced some of his living friends to sign documents as though they were previous owners of the pain ngs - most of them were broke or otherwise in trouble and accepted the money he offered them. To an old childhood friend, Daniel Stokes, he concocted a story about a drinking wife and needy children and convinced him to pretend to be an owner of a fake Ben Nicholson pain ng. Clive Bellman, another acquaintance, was told that the pain ngs were sold to provide money for purchases of archive materials from the Soviet Union about the Holocaust. When he could not find anyone to bribe, he just invented nonexistent people. In 1989, Drewe gained access to the le er archives of the Ins tute of Contemporary Arts in London by claiming to be an interested collector. He also donated two pain ngs - Mya s forgeries - for a fundraising auc on. Later he used the ins tute s sta onery in his fake documents. The Tate Gallery received a dona on of two Roger Bissière pain ngs but Bissière s son did not accept them. Drewe withdrew the pain ngs but he made a dona on of 20,000 (about US$32,000) to the gallery, so the gallery opened archives to him. To become accepted by the Victoria and Albert Museum he needed a false reference - he provided one himself. Drewe used the opportunity to introduce false records to the archives. He replaced old pages and inserted numerous new ones into old art catalogues to include Mya s forgeries. The ins tu ons have said that it will take years to purge the archives of all the false informa on. Through a middleman, Drewe also created a company called Art Research Associates and again used himself as a reference. In 1995, Drewe le Goudsmid to marry Helen Sussman, a doctor. Goudsmid studied papers that Drewe had le behind and found a number of incrimina ng le ers. She decided to tell the police and the Tate Gallery. Arrest and prosecu on In September 1995, Scotland Yard quietly arrested Mya. He had fallen out with Drewe and agreed to cooperate. On April 16, 1996, police raided Drewe s house in Reigate, Surrey, and found materials he had used to forge cer ficates of authen city. They also found two catalogues Drewe had stolen from the Victoria and Albert Museum. Police also found evidence that another ar st in addi on to Mya might have supplied some of the forgeries. During the interroga on, Drewe con nuously protested his innocence against all evidence. He was released on bail and disappeared. Two months later police found him by following his mother. This me, Drewe had concocted a conspiracy theory of frame-up. He claimed that he was an arms dealer and a fall guy for a conspiracy including Bri sh law enforcement and governments of seven countries and that there had been a total of 4,000 forgeries that had been used to finance arms deals between the UK arms industry and Iran, Iraq and Sierra Leone. He also claimed that he was a Bri sh intelligence agent, that Mya was a neo- Nazi opera ve and that Robert Harris, a name men oned in many forged cer ficates, was a South African arms dealer. He could not prove any of these stories, of course. If he had intended to scare police to drop the case, he failed. The prosecu on declared his story pure fantasy and charged him. The trial against Drewe and Mya began in September Drewe fired his lawyer because he refused to use Drewe s story as a defence and decided to defend himself. Again he failed; Mya called him a liar to his face and the jury declared him guilty in six hours. On February 13, 1999, Drewe was sentenced to six years for conspiracy to defraud, two counts of forgery, one of the, and one of using a false instrument with intent. He served two years in prison. [2] References [1] Levinson, David (ed.) (2002). Encyclopedia of Crime and Punishment, p. 69. Sage Publica ons, Inc. ISBN X. [2] Bowman, J. H. (2006). Bri sh Librarianship and Informa on Work , p Ashgate Publishing. ISBN X.

5 John Mya Kunstvervalsingen in Engeland 5 From Wikipedia, the free encyclopedia John Mya John Mya, (born 1945), is a Bri sh ar st and convicted forger who, with John Drewe, perpetrated what has been described as the biggest art fraud of the 20th century. [1] Early life The son of a farmer, Mya a ended art school and discovered a talent for mimicking other ar sts styles but at first only painted for amusement and for friends. He worked as a songwriter for a me and wrote the single Silly Games, a UK Top 40 hit for Janet Kay in He later worked as a teacher in Staffordshire. [2] Pain ng When his wife le him in 1985, Mya gave up teaching to spend more me with his children, and a empted to make a living by pain ng original works in the style of well known ar sts. He placed an adver sement in Private Eye magazine which read Genuine fakes. Nineteen and twen eth century pain ngs from 150. [3] He was ini ally honest about the nature of his pain ngs, but John Drewe, a regular customer, was able to re-sell some of his pain ngs as genuine works. When he later told Mya that Chris e s had accepted his Albert Gleizes pain ng as genuine and paid 25,000, Mya became a willing accomplice to Drewe s fraud, and began to paint more pictures in the style of masters like Roger Bissiere, Marc Chagall, Le Corbusier, Jean Dubuffet, Alberto Giacome, Ma sse, Ben Nicholson, Nicholas de Stael and Graham Sutherland. Forgeries According to police es mates, Mya painted about 200 forgeries in a regular schedule and delivered them to Drewe in London. Police later recovered only 60 of them. Drewe sold them to the auc on houses of Chris e s, Phillips and Sotheby s and to dealers in London, Paris and New York. [4] Arrest and trial In September 1995, Mya was arrested by Scotland Yard detec ves. He quickly confessed, sta ng that he had created the pain ngs using emulsion paint and K-Y Jelly, a mixture that dried quickly but was hardly reminiscent of the original pigments. He es mated that he had earned around 275,000 [5] and offered to return 18,000 and to help to convict Drewe. He had come to dislike the decep on and Drewe. On April 16, 1996 police raided Drewe s gallery in the Reigate suburb of London and found materials he had used to forge cer ficates of authen city. Drewe had also altered provenances of genuine pain ngs to link them to Mya s forgeries and added bogus documents to archives of various ins tu ons in order to prove their authen city. The trial against Mya and Drewe began September On February 13, 1999, John Mya was sentenced to one year in prison for a conspiracy to defraud and was released the following June a er serving four months of his sentence. Drewe was sentenced for six years for conspiracy and served two. [4] Current career A er his release, Mya has con nued to paint commissioned portraits and clear copies, and has held exhibi- ons of his work. [6] His pain ngs are now marked indelibly as fakes, and have sold for up to 45,000. In 2007 it was reported that a film was to be made about Mya s case, wri en by Dick Clement and Ian La Frenais and with the working tle Genuine Fakes. He now works alongside law enforcement in helping to expose fraudsters. [7]

6 John Mya Kunstvervalsingen in Engeland 6 John also has a television show on Sky Arts called Fame in the Frame. He has a private si ng with one celebrity each episode and paints a portrait of them in the style of a famous ar st. Episodes include pain ng singer/songwriter Ian Brown in the style of Paul Cézanne and actor/comedian Stephen Fry in the style of Diego Velázquez Portrait of Pope Innocent X. John now hosts his own series - Virgin Virtuosos on Sky Arts, where he takes celebri es and recreates a famous pain ng. References [1] Honigsbaum, Mark ( ). The master forger. The Guardian. h p://arts.guardian.co.uk/ features/story/0,, ,00.html. Retrieved [2] Ferguson, Euan ( ). Making Monet. The Guardian. h p://arts.guardian.co.uk/features/ story/0,, ,00.html. Retrieved [3] Gentleman, Amelia ( ). Fakes leave art world in chaos. The Guardian. h p:// Retrieved [4] Faker who flooded art world jailed for 6 years. The Guardian h p:// Retrieved [5] Benne, Will ( ). A er brush with law, ar st puts his fakes on show. The Daily Telegraph. h p://www.telegraph.co.uk/news/main.jhtml?xml=/news/2002/09/07/nfake07.xml. Retrieved [6] Art fraudster to hold fake exhibi on. BBC News h p://news.bbc.co.uk/1/hi/ entertainment/arts/ stm. Retrieved [7] Thorpe, Vanessa ( ). Art forger finds Hollywood fame. The Observer. h p:// arts.guardian.co.uk/art/news/story/0,, ,00.html. Retrieved

7 The Guardian, Thursday 8 December 2005 Kunstvervalsingen in Engeland 7 h p://www.guardian.co.uk/artanddesign/2005/dec/08/art The Guardian, Thursday 8 December 2005 Mark Honigsbaum The master forger John Mya was responsible for the biggest art con of the 20th century, and ended up going to jail for it. Now his story is being turned into a Hollywood movie - and a pres gious gallery is showing his genuine fakes. He tells all to Mark Honigsbaum. John Mya is showing me some of his recent crea ons. That s a Giacome, he says, poin ng to an abstract in swirling whites and grays en tled Apples on a Stool, I m not sure it s quite finished yet. Next, Mya walks me to another wall of The Air Gallery, in London s Mayfair, hung with a Modigliani, several Picassos and, in the centre, a large Ben Nicholson. Now, this is actually a pain ng that failed, he says. In the end I had to paint over it with primer and sand it back to the canvas. For a painter who is celebra ng his first London opening, Mya is disarmingly honest about both his working methods and his failings as an ar st. But then, this is not the first me that Mya s versions of works by Giacome and Nicholson have found their way into the West End. Between 1986 and 1994, Mya churned out more than 200 new works by surrealists, cubists and impressionists, passing them off as originals with the help of an accomplice, John Drewe, an expert at genera ng false provenances. Despite the fact that many of Mya s pain ngs were laughably amateurish (they were executed in emulsion, not oil), they fooled the experts and were auc oned for hundreds of thousands of pounds by Chris e s and Sotheby s. It was, said Scotland Yard s art and an ques squad when they finally caught up with Mya in 1995, burs ng into his Staffordshire studio at the crack of dawn, the biggest art fraud of the 20th century. Indeed, to this day, some 120 Mya s are s ll said to be in circula on. Now, having served his me - Mya was sentenced to 12 months in prison in 1999 but was released for good behaviour a er four months - and with Michael Douglas poised to turn his exploits into a feature film (working tle, Art Con), he feels he has nothing to apologise for. If someone came to me with one of my fakes now I wouldn t let on, says Mya, who is 60. I figure that the pain ngs aren t doing any harm. Besides, I d be losing a perfectly innocent person money. Instead, he is seeking to forge a new career, so to speak, as a purveyor of what he calls genuine fakes. These are works by the very same ar sts he used to imitate when he was a criminal - not only Giacome s and Nicholsons but Monets, Ma sses and Renoirs. They even come with the ar st s signature. The only difference is that on the back of the canvas is a computer chip and the legend Genuine fake wri en in indelible ink. In an age when a broken-down hut can win the Turner prize and Damien Hirst can make millions flogging spot pain ngs produced by teams of assistants, Mya is hoping that his venture will be seen as a refreshing take on the ques on of what cons tutes art. So many things today are invented, he says. I think genuine fakes slot into that rather nicely. With a fake pain ng, you re free to ask, does it go with the curtains? You can t do that with a genuine Van Gogh because it s worth millions. Mya didn t set out to by a faker. As a young art student he had high hopes of establishing his own ar s c style. But whenever he turned his hand to landscapes or portraiture, he says the result was invariably academic and dull. Instead, he taught evening classes and began selling the odd fake to friends and colleagues. In 1983, he placed an ad in Private Eye that read: Genuine fakes, 19th- and 20th-century pain ngs from 150. The ad ran four mes before he received a call from Drewe. He had a mohair coat, wore expensive hand-made shoes and drove a Bristol motor car, says Mya. He told me he was a professor of physics. I believed him.

8 The Guardian, Thursday 8 December 2005 Kunstvervalsingen in Engeland 8 Drewe began by commissioning a Ma sse, followed by several Dutch-style portraits. Soon Mya was visi ng him at his home in Golders Green and was on first-name terms with his wife. The turning point came with the ninth commission. Drewe had run out of ideas, so Mya suggested a pain ng by the German cubist Albert Gleizes. It was based on a drawing I d seen in a book. I called it Portrait of an Army Doctor. At first, John hung it on his stairway like all the others. It was only later that I think he got the idea to take it to Chris e s. The first thing Mya knew about it was when he got a call from Drewe saying the auc on house had offered him 25,000 and how do you fancy 12,500 in a brown envelope?. It did not take me any me at all to make the wrong decision, says Mya. It was as much money as I earned as a teacher in a year. Although Mya had recently separated from his wife and was having to bring up their young son and daughter alone, he does not wish to make excuses. The truth, he says, is that he also enjoyed it. He began by knocking off fake Giacome s, driving to Liverpool to catch an exhibi on of the Swiss surrealist s work, then rushing back to Staffordshire to make the first brush stroke. I try to get the ar st s work to hypno se me, says Mya, who compares himself to an art-world Rory Bremner. I also surround myself with lots of books. I like to know everything - where he was, what he was doing, what his rela onship was like with his wife - when he was pain ng. In retrospect, Mya says it is incredible that any of his pain ngs fooled the experts (it was only by chance, for instance, that he used the same co on duck canvas favoured by Giacome ). Gradually, however, Mya learned to use the correct materials and water down his emulsion with KY jelly to give it an authen c-looking glaze. Meanwhile, Drewe devoted his energies to genera ng fake provenances, collec ng old gallery receipts from places such as the Ins tute of Contemporary Arts and slipping new entries into the card indexes at the Tate and V&A. The scam eventually unravelled in 1995 when Drewe s wife went to the police (they were going through a bi er separa on) and Scotland Yard raided Mya s house. At first he denied everything, but when the officers discovered an unposted le er to Drewe in his briefcase saying that he wanted out, Mya realised that the game was up. The le er more or less amounted to a signed confession. The police were very nice about it. We ended up si ng round the kitchen table discussing art. Mya survived Brixton prison by doing portraits of his fellow inmates in exchange for phone cards, earning himself the soubriquet Picasso. But when he was released, he says, the last thing he wanted to do was pick up a paint brush. Then he got a phone call from the officer who had arrested him, asking for a portrait of his family. This was followed by a commission of a Giacome from a member of the prosecu on team at his trial and a version of Dufy s Casino at Nice for the Bar Council. Another convert is the TV presenter Anne Robinson, whom Mya got to know while pain ng her portrait for a BBC2 documentary, Art Crime. By 2002 Mya was back to pain ng fakes in earnest - the difference being that he now found he could sell them under his own name for substan al sums of money (genuine Mya fakes go for anywhere from 850 to 4,700). But while his prominent disclaimers are designed to keep him out of jail, he says he cannot vouch for what others in the art world may do. I went to a fraud conference in the summer and met a lady from the Giacome founda on, he says. She said it s no good pu ng Genuine fake on the back; all they ll do is re-line the canvas. As long as you re selling in good faith, I m told that you re not commi ng a crime. What happens to the paintings in 70 or 80 years me is out of my control. Genuine Fakes, an exhibi on of pain ngs by John Mya, is at The Air Gallery, 32 Dover Street, London W1 un l Saturday

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